"Honeymoon in Vegas”
Book by Andrew Bergman
Music and Lyrics by Jason Robert Brown
Based on the Castle Rock Entertainment Motion Picture
Choreography by Dennis Jones
Directed by Gary Griffin
Nederlander Theatre, 208 West 41st Street, New York, NY
Review by Drew Kopf
© Drew Kopf 2014
Just about everything that needs to be done right in a musical comedy has been done right in the musical comedy “Honeymoon in Vegas” now in previews at the David T. Nederlander Theatre on West 41st Street in New York City.
Andrew Bergman has written a book that features a full compliment of interesting twists and turns that moves the story forward almost effortlessly with a dialogue that holds within it some very clever phrases that tickle the funny bone while still keeping us on the lookout for whatever is coming next.
Jason Robert Brown has crafted a delightful score with lyrics that are ready to be sung by the extremely well balanced and talented cast and music that allows the fourteen piece orchestra under the baton of Tom Murray, which Director Gary Griffin has very wisely chosen to locate right up there on the stage to shine in all its well deserved glory. The orchestra is on three trucks (movable stage set pieces) that enter and exit effortlessly on cue, which further helps to direct the audience’s attention to what is coming next. There is hardly a moment to reflect on things as the scenes change and the story moves onward and upward; including a riotous airplane ride with a group of … but we would best allow our readers to experience that scene in particular with as little advance knowledge as possible.
The look and feel of “Honeymoon in Vegas” comes from an equally high quality of effort from Anna Louizus, Scenic and Projection Designer, Brain Hemesath, Costume Designer, Howell Brinkly, Lighting Designer and Scott Leher and Drew Levy the Sound Designers. This show looks great at every juncture. Everything counts. And, so even the wigs and hair design by Charles G. La Pointe and the props, which are often absolutely outrageously funny by Kathy Fabian/Propstar help to bring together the perfect culture for the actors and dancers to pull it all together by doing what they do best.
The cast of “Honeymoon in Vegas” works like a high performance engine firing flawlessly on all cylinders. The acting is so smooth it seems like real life; just as real as can be. Dancing and singing in “Honeymoon in Vegas” comes out of thin air; just as natural as could be; as if it were normal for people to burst into song and dance around in precision choreography that would rival the West Point Drill Team. There is energy everywhere; notes that are held forever; melodious modulations that meld together in monumental majesty. Let’s just say that the singing and dancing in “Honeymoon in Vegas” is like being dealt a straight flush in poker. Not much can top it.
OK. The star quality of the stars of “Honeymoon in Vegas” shines as brightly as the shows long list of producers surely hoped they would. Rob McClure, as Jack Singer, delivers a sparkling performance. He absolutely does it all; and with a passion and energy that never flags for an instant. And he is not alone. Brynn O’Malley, even in her cameo role of Donna Korman, looks and acts “poifect” and, right through the show as Betsy Nolan, Ms. O’Malley is the quintessential Broadway Musical Diva with impeccable timing, musical might, a “punum” (that’s Yiddish for face but said in such a way to mean “What a face!”) that is magnificently beautiful and endlessly expressive.
The star power of the veteran actor Tony Danza in the role of Tommy Korman, a misplaced sentimentalist with a streak of what looks just like love but which is so smothered in the evil of his gangster life and ways that everything he does is tainted with evil. Well, there is one tiny little almost insignificant moment that, if you blink, you might just miss it, right at the end that makes us think that there might just be some hope for this miserable murderous creep of a man to change his ways and do good. Hey! It’s a musical comedy. How can we let the crooks and “moiderers” not have some kind of heart? Mr. Danza delivers a smooth talking well sung performance that helps pepper the show with just the right amount of the emotional elements of fear, anger, retribution and hate so as to temper the entire experience for us so that the relief that finally does come has a place from which to emanate.
The supporting roles are populated by just the right actors who deliver moment-by-moment throughout the show and either help frame or focus our attention on what is most important at that juncture so that everyone in the audience is right where they need to be so it all works to perfection.
Oh. If you still want a moral message. Not to worry. “Honeymoon in Vegas” has got you covered.
We are all looking for happiness and security. The quick fix to a life of happiness as the oft repeated phrase in the show states is: “Las Vegas: the place where dreams come true.” But, the frustration that drives people to gamble rather than to stick with their plan to find happiness through hard work and trusting their own sense of judgment as to who is right for them as a partner in life is something to which even the strongest of us might well fall prey.
We jokingly say, “You’re going to Las Vegas? It’s a religious trip, right?”
Let’s face it. More people call on the name of the Lord every day in Las Vegas than in all the houses of worship in the entire country. “Honeymoon in Vegas” shines a bright light on the choice every one of us gets to make every moment of every day. Gambling on finding happiness with what looks like the real thing or staying the course with the way we know is really right for us but needs time to come to fruition.
The live show aspect of “Honeymoon in Vegas” is made the focus of everyone on both sides of the footlights when Mr. Danza, at the penultimate point in the play pats the audience on its proverbial back by telling us, “You’ve been a great audience.” It is a great touch and a very important one that many would not think to include. The show is ending and we are all going back into the reality of the very troubled world in which we all are living. But, for these fleeting moments of storytelling at its absolute best, we, the audience did great. It is the essence of the audience applauding and the actors acknowledging their applause by taking their bows. There really is nothing else like it. Nothing compares to Broadway. And, finally, we have available a true-to-the genre example of what a Broadway Musical Comedy is all about.
And now, please, let us just take a brief moment about Garry Griffin, the Director of “Honeymoon in Vegas.” His hand is absolutely everywhere in the show and, thank Goodness for that. He never lets us rest, which keeps us in his amazing clutches so that we get the very most out of our time in the theatre that we possibly can.
In case we did not make ourselves clear about it, do not miss “Honeymoon in Vegas.” It is a rip.
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